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| Michele Desubleo (Michele Fiammingo) Allegory of Sacred and Profane Love ca. 1665-75 oil on canvas Metropolitan Museum of Art, New York |
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| Thomas Francis Dicksee Hermione 1874 oil on canvas Art Gallery of New South Wales, Sydney |
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| Christian Wilhelm Ernst Dietrich Flight into Egypt 1734 etching Graphische Sammlung, ETH Zürich |
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| Wilhelm Dodel Young Woman in a Red Dress (Margaret Leiteritz) ca. 1936 oil on canvas Galerie Neue Meister, Dresden |
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| Burhan Dogançay Diner's Window 1966 collage and acrylic with sand on plexiglas Dallas Museum of Art |
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| Kees van Dongen Cafe de Nichtlamp, Rotterdam 1895 drawing Museum Boijmans Van Beuningen, Rotterdam |
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| John William Draper Proboscis of Fly ca. 1855-60 daguerreotype taken through microscope National Museum of American History, Washington DC |
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| Wallace Earl Dreyer Texas 1979 gelatin silver print Chrysler Museum of Art, Norfolk, Virginia |
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| Claude-Marie Dubufe Portrait of a Young Woman ca. 1843 oil on canvas Norton Simon Museum, Pasadena, California |
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| Jacob Duck Soldiers in Guardroom with Loot and Supplicating Woman ca. 1635-40 oil on panel North Carolina Museum of Art, Raleigh |
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| Gaspard Dughet Arcadian Landscape ca. 1670 oil on canvas Statens Museum for Kunst, Copenhagen |
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| Roy DeCarava Billie at Braddock's, New York 1952 photogravure Chrysler Museum of Art, Norfolk, Virginia |
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| Léonard Defrance Interior of a Foundry 1789 oil on panel Walker Art Gallery, Liverpool |
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| Eugène Delacroix Flowers ca. 1834 oil on canvas Belvedere Museum, Vienna |
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| Thomas Demand Archive 1995 C-print Guggenheim Museum, New York |
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| Maurice Denis The Entombment 1893 tempera on paper, mounted on canvas Norton Simon Museum, Pasadena, California |
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| Donald Deskey House of Worth ca. 1929 graphite and gouache on paper (sketch for printed advertisement) Cooper Hewitt, Smithsonian Design Museum |
(Modeled on Plato's Hippias Major, Minturno is a conversation between the philosopher Antonio Minturno and Geronimo Ruscelli, a colorful courtier and dilettante.)
Geronimo Ruscelli: And this is why, when someone is planning to raise an army or a fleet to sea, I usually think not only of the number and quality of the soldiers, horses, ships, and the arms and instruments that are necessary for war on sea and land, but also of uniforms, standards, the emblems of princes and lords, and above all of making a good appearance and a beautiful display. I consider it a great part of the victory when a man displays himself so as to appear worthy of the exercise of arms.
Antonio Minturno: You would prefer to conquer, then, by the beauty rather than by the virtue of your soldiers. But perhaps this is impossible. Rich coats, plumes, pavilions, and the other baggage of an army are more often the spoils of the enemy than a terror to him.
G.R.: That is not always true; there are many times when the beauty of the arms and emblems causes fear. I would like to see our armies resemble those of the Cimbrians, who – as one may read in Plutarch – used to carry shields decorated with bears, wolves, lions, boars, and other wild animals, which made them look like an army of beasts equipped by nature itself to be a terror to the enemy. So great is the importance, in my judgment, of the fear caused by arms together with beauty.
A.M.: I imagined you would have sought that beauty of which you are so fond, not among armies and in the glitter of steel and in the smoke and crash of artillery, but in gardens and in villas adorned with marble and paintings, of the sort one sees along the fertile shore and in these delightful hills, where there are perhaps no images so well sculpted or painted as those which nature itself has formed.
– Torquato Tasso (ca. 1593-94), translated by Dain A. Trafton and Carnes Lord (1982)